Review: Prime wielder of the wobbliest, nastiest techno known to mankind Neil Landstrumm is never short of some fresh ideas to freak us out with, but now Don't have seen fit to remind us of some of the most floor rocking of his madcap ideas from the pinnacle of his 4/4 powers in the late 90s. Lifting tracks from Bedrooms & Cities and Scandinavia Sessions, this EP provides a neat snapshot of just why he's such a celebrated producer. There is simply no arguing with the swinging gutter funk of "Tension In New York", which comes boosted with a fraught "Tension Unreleased" version. "Scandinavia Sessions" meanwhile jacks like Chicago's bastard son, and "Minneapolis Bass Treatment" comes on all grinding electro techno, but not in the catchy sense.
Review: Jerome Hill's resolutely non fashionable Don't Recordings imprint may have taken some twelve years to reach its 20th release, but they do it with typical style on a double headed EP that manages to glance both backwards and forwards. Regarded as a major influence on the label, the presence of Planet Mu regular Neil Landstrumm is no less than a coup, and the Scottish producer elects to do something special, reworking two classic techno tracks from Blake Baxter and Joey Beltram. Programmed entirely from scratch without a hint of a sample, both "Brutality" and "Energy Cash" are uncompromisingly brilliant in their execution. Rebel Intelligence main man Matt Whitehead is on equally unflinching form with his two contributions "To The Beat" and "A Is For Acid" - both of them all too potent rave filled 303 explorations miles away from what Legowelt referred to as "boring contemporary shit they call techno nowadays".
Review: Techno legend Neil Landstrumm requires no introduction on here, seeing as how he has been present - and largely leading - our charts since we opened shop in the late 90s. He is techno, and techno is him, much like the Detroit or Chicago greats that we all know and love so much. We're glad to see him on Unknown To The Unknown, DJ Haus' imprint, up in the wax with his predictably oddball strain of techno, first launching an off-kilter attack with "DX Madness", before heading into deeper, darker and more subtle territories via "Rectorate Power". "Sleep" and "Grape" both feature Brain Rays, with both tracks possessing a much more sparse, 12-bit sound that verges onto vintage electronica. Landstrumm gear.
Review: In his formative years, Neil Landstrumm was a huge fan of "Yorkshire bleep and bass", the sparse, sub-heavy style of techno that emerged from the North of England at the tail end of the 1980s. He's paid tribute to it in his music on many occasions, though never in as concentrated a way as found on this fantastic EP for Chris Smith's brilliant CPU imprint. For proof, check the aggressive electronics, Xon style melodies and "LFO" sub of opener "The Tomorrow People", the early Orbital style "bleep and breaks" of "Chrome and Ferric", the deep space brilliance of "Sahara" (which our resident bleep nerd compared favourably to Robert Gordon's legendary remixes of Cabaret Voltaire's "Easy Life") and the mind-altering late night sleaze of closer "The Chemical Con".
Review: Bedrooms is one of Neil Landstrumm's finest albums. Originally released in 1997, it saw the Scottish producer move from his early noise-nik works like Brown by August and Index Man into a techno sound that encompasses other influences such as early 90s bleep, This stylistic shift is audible on killer tracks like the Hoover bass of "Tension In New York" and the hardcore referencing "Monaco Grand Prix". While the distorted jack of "Stretch Copenhagen" shows that Landstrumm found it hard to shake off his noisy past during the recording process, arrangements like the eerie "George Shoulders Is Alive" provide a path towards more refined Lansdstrumm works such as Pro Audio and later on, the masterful Restaurant of Assassins.
Review: Neil Landstrumm has enjoyed something of a career revival of late, with killer EPs on Central Processing Unit, Running Back and Unknown to the Unknown re-asserting his long-held dancefloor credentials. Naturally, there's plenty more retro-futurist club fodder to be found on the Scottish producer's latest EP, which - as per usual - contains numerous sonic references to turn-of-the-90s bleep and bass. The standout cut is undoubtedly Si Begg hook-up "Hell Is Other People", a fiendishly raw, bass-heavy chunk of techno/electro fusion full of analogue intensity, weirdo robot vocals and Yorkshire style bleeps. He continues on a similarly sparse but weighty theme on "Aviemore", before wrapping a sleazy, Belgian style techno groove with spooky electronics on mind-altering closing cut "Jackshit".
Review: A pioneer since the early '90s and, not to mention, an originator of the "wonky" side of hard-hitting techno, Scotland's Neil Landstrumm is an artist to be treated with the upmost respect by the wider dance scene. Aside from an endless variety of releases for labels like Peacefrog back in their golden era, Landstrumm has never compromised on a single aspect of his music, and he's always stuck to offering his own version of techno - there ain't a hint of bandwagons here! This latest release sees him rock up on the fabulously off-kilter Giallo Disco imprint, active in the game since 2012 and masters of their own universe. While these five killers are perhaps slightly less deadly than their 90s counterparts, that inimitable Landstrumm sound is very much there, only subtly masqueraded by a more disco-leaning cosmetic makeover. If you're into raw, effective floor trax then you should look no further. All killer, no filler...
Review: The fact that the title of Neil Landstrumm's latest release sounds somewhat romantic probably isn't a coincidence. The title track sees the Scottish producer take inspiration from the golden age of dance music; the groove is redolent of bleep techno, while the bass and accompanying ghostly samples influenced by the spookier end of UK hardcore. The sum of these parts is then delivered with Landstrumm's innate sense of wonky funk. Serbian newcomer Lag is the first to offer a reshape and delivers a bruising but controlled version inspired in part by Reese break-beat techno; noise-nik Ansome follows with a leathering big room version laden down with white noise and tortured shrieks, while rounding off the release is the mysterious Headless Horseman with an acid-laden stepping version.
Review: It's hard to think of a label that would be less likely to release Neil Landstrumm's music than Running Back, so this EP underlines the fact that anything is possible. Admittedly, the Scottish producer has tempered his sound somewhat for Shitting Diamonds; "Sex With Madonna" and "Centurion X" both see the maverick producer make his sound more accessible, thanks to the pulsating bass tones and synths that swirl in overhead in majestic fashion. "Shame" also revolves around a throbbing bass-line but on this occasion, the synths and approach are more lo-fi. "Night Walker Zwei" meanwhile is a tougher techno work out, while he ends the release with the chugging electronic disco of "HI_Lm".
Review: Having been such the civil servant to an unwieldy scene it's always a pleasure to see legends arnd staunch advocates of their sound make their way onto Cocoon. With the boom of ice cannons and confetti, Landstrumm arrives on the label with some deep, trippy and well inspired electro sounds, with the smooth club-aggro and bassline bounce in "Purple" a nice start. The record pulls slightly leftfield with with the computer electronics and baddass vocals of "Catnatized", with the title track "Sun Universe" your direct route to a sour-faced electro-rave banger.
Review: At a time when so many of its early contemporaries are rarely seen releasing these days, Planet Mu's 20th anniversary is even more of a cause de celebre. The powerhouse of uncompromising leftfield electronic music has pulled no punches when it comes to commemorating the time, drawing on the staggering roster including Kuedo, Remarc, Traxman, Falty DL, Machinedrum, Milanese, Vex'd, Neil Landstrumm and so very many more besides, bringing together tracks from the vaults, from forgotten times, some of which have never previously seen the light of day. With 50 tracks to delve into, this is enough of an education to school even the most learned mind.
Review: In its original form, Killekill was a party that embraced all sorts of electronic music, and the label has opted for the same approach. It doesn't seem to bother Nico who runs Killekill - he previously worked for Shitkatapult - that the imprint's first steps have displayed an almost schizophrenic disregard for the kind of micro-genres that defines electronic music. In fact, like Svreca from Semantica and Micky who runs [Naked Lunch], he seems far more interested in what constitutes a great tune, irrespective if its tempo is 100bpm or 160bpm and regardless of whether it was fashioned in downtown Detroit or a windswept Dublin suburb. Following the wild techno of Alex Cortex's Raw, comes Megahits, a three-installment vinyl release that sums up this approach. It begins almost innocuously, with Bill Youngman's "The 2", a downtempo, jazzy piece that suddenly veers into rude boy half-paced jungle bass. Despite being a Berlin label, UK culture is represented again with the curious blend of ragga vocalsand twitchy acid lines on Affie Yussuf's "Onna Roll", while Radioactive Man serves up his typically party-friendly electro, replete with tonal bass licks on "Addict" and Neil Landstrumm returns to techno territory - albeit a less distorted, noisy one - on the dark, ravey bass of "On The Pussers". There are also nods to contemporary European techno - the most notable being the grainy, dense rhythms and searing acid of Cassegrain and Tin Man'scollaboration - US producers are represented with the murky jack of JTC's "Crush Arbor" and the frightening synths, predatory bass - which has echoes of Suburban Knight - and hyperactive rhythms of DJ Stingray's "Ego Assault". Killekill also proves itself again to be home to the outsider, featuring the punishing beats and menacing synths of Lakker's Autechre-eqsue "Darcdub" and the spectacularly depraved "Furfriend", a stripped back groove powered by a bombastic bassline and featuring a deadpan pervert talking about taking drugs and how he likes to come on people's faces with his "fat cock". Electronic music may have become a smaller place thanks to technology,but as Megahits shows, Killekill's world remains as colourful and occasionally disturbing as an LSD-drenched peek through a kaleidoscope.
Review: Focusing resolutely on underground sounds, don't expect this compilation to deliver flavour of the month tunnel techno or tasteful drones. Instead, Substance have recruited Neil Landstrumm and Stick 430 to drop mental rave basslines over yelping analogue techno and drill'n'bass, and have persuaded Automatic Tasty to forgo his usual Drexciya-focused electro-bass for the warbling acid and Minnie Mouse on helium hardcore vocals of "Free All Parties Now!" If there is a common theme here, it is a love of rave and raving, and both Subhead and Smees bring this aesthetic to their wonky techno contributions. Ten Tracks is the ideal release for the outdoor party person.
Flamingo Overlord - "Searching For The Fob" - (6:00) 130 BPM
Swarm Intelligence - "Creature" - (5:10) 130 BPM
Dez Williams - "Lord Prophet" - (5:05) 134 BPM
The Horrorist - "The Inferno" - (3:31) 51 BPM
W.H.O.R.E.S - "Theme From W.H.O.R.E.S." - (6:37) 135 BPM
Sync 24 X Alienata - "Confused" - (5:34) 135 BPM
Merimell - "Custom Made" - (5:43) 130 BPM
Boy-8-Bit - "NYX" - (6:38) 133 BPM
The Mover - "Final Distance" - (6:30) 128 BPM
Tigerhead - "Epilog" - (5:17) 127 BPM
Review: Celebrating its tenth anniversary, the Berlin label has tapped its 'beloved family members, favourite artists and bestest friends' for this compilation. Certainly, it's an impressive line-up. MMM, the studio partnership between Fiedel and Errorsmith, delivers the insane acid of "Infinity Crash", Neil Landstrumm teams up with Brian Rays for a master class in wonky techno on "Talkin' Shit" and there are brilliantly moody, bass-heavy tracks from the likes of Swarm Intelligence and Poison Green. This being a Killekill release, there is no shortage of madness on offer, and Dez Williams delivers the deranged industrial banger, "Lord Prophet", while hardcore legend The Mover drops the chilling "Final Distance". Here's to another ten years.
Review: It's been twenty years since Sven Vath's Cocoon operation set up in Ibiza; since then the label's annual alphabet-themed compilations have also come to define techno's stylistic twists and turns. According to S, 2019 clearly saw the re-emergence of trance in its various forms, from Love Over Entropy's wide-eyed abandon to Stimming's more musical approach - audible on "The Gift That Never Stops To Give". Musicality is also a common theme on the house and techno that features on Compilation S, with Emanuel Satie's "Planet XXX" resounding to melodic chord stabs and Giegling artist Edward's "End Days" favouring chattering samples and a soaring bass - inspired by E-Dancer with a modern, Teutonic twist.